sculptures

Transcription

sculptures

in münster
sculptures
1E
Sculptures Guide
61 works of art and projects
in public spaces.
1 Eduardo Chillida
2 Martha Rosler
3 Thomas Schütte
4 Otto Freundlich
5 Tom Otterness
6 Lothar Baumgarten
7 Daniel Buren
8 Mark Formanek
9 Hans-Peter Feldmann
10 Hermann Pitz
11 Richard Tuttle
12 Mark Wallinger
13 Dennis Adams
14 Siah Armajani
15 Ulrich Rückriem
16 Giovanni Anselmo
17 Harald Klingelhöller
18 Kim Adams
19 Claes Oldenburg
20 Henry Moore
21 Heinz Mack
22 Friedrich Gräsel
23 Martin Boyce
24 Jorge Pardo
25 Ilya Kabakov
26 Susan Philipsz
27 Rosemarie Trockel
28 Donald Judd
29 Guillaume Bijl
30 Karl Ehlers
31 Stephan Huber
32 Ernst Hermanns
33 Kenneth Snelson
34 Rémy Zaugg
35 Huang Yong Ping
36 George Rickey
37 Giuseppe Penone
38 Bernhard Luginbühl
39 Olaf Metzel
40 Norbert Kricke
41 Susana Solano
42 Rebecca Horn
43 Francesco Marino di Teana
44 Ernst Hermanns
45 Maria Nordman
46 James Reineking
47 Kirsten Kaiser
48 Per Kirkeby
49 Per Kirkeby
50 Richard Artschwager
51 François Morellet
52 Jenny Holzer
53 Herman de Vries
54 George Brecht
55 Ian Hamilton Finlay
56 Manfred Müller
57 Matt Mullican
58 Bruce Nauman
59 Ludger Gerdes
60 Heinz-Günter Prager
61 Richard Serra
Münster is a capital of culture of international renown. Unique
are the over 60 sculptures in Münster’s public exhibition space,
a feature that is unrivalled throughout the world. In this guide,
the most exciting projects are summarized and arranged into five
guided tours.
For the most part, the works were created for the Skulptur.Projekte
in Münster, a series of exhibitions conceived and implemented by
the LWL State Museum for Art and Cultural History of the Regional
Association of Westphalia-Lippe. International artists have been
creating sculptures at particular locations in Münster since 1977
and subsequently on a decennial basis, in 1987, 1997, and 2007.
However, a few were created based on efforts undertaken by the
city of Münster in the years before and in-between, such as, for
instance, Eduardo Chillida‘s Tolerance by Dialogue, an installation
comprising two steel sculptures set up in 1993 in the townhall
courtyard. The particular thing about all these sculptures is their
close relation to the city, because the city of Münster itself is the
artists‘ object of interest, as was explained in the accompanying
catalogue for the 1987 exhibition by Skulptur.Projekte curators
Klaus Bussmann and Kasper König - with its architecture, its
streets and squares, its public parks, but also its history, its
social structure (which is quite one of a kind by German standards),
and its clichés which remain in the public mind.
Consequently, one of the best ways to get acquainted with the city
of Münster and its townscape is to visit its art collection in the
public spaces. Discover a special kind of “museum”: free of charge
and outdoors…
Enjoy your discoveries!
Discovering sculptures
Embark on an expedition and explore the sculptures in Münster
- by foot, by bike or by car. That‘s quite easy to do with our short
guide to assist you! We have selected 61 works of art and projects
for you, provided short explanations, and arranged them in five
different tours. From the short walkabout on the old town of Münster to the one-day walk or the bicycle tour out into the countryside - there‘s an appropriate proposal for any taste and time-frame.
Perhaps you’d prefer to discover the sculptures in Münster with an
expert guide? In that case, several service providers are yours to
choose from:
Stadt Lupe Münster e.V.
StattReisen Münster
Heinrich-Brüning-Straße 9
D-48143 Münster
Tel.: 0049(0)251 - 492 27 70
Fax: 0049(0)251 - 492 77 47
E-Mail: stadtlupe@muenster.org
www.stadt-lupe.de
Rothenburg 47
D-48143 Münster
Tel.: 0049(0)251 - 41 40 333
Fax: 0049(0)251 - 41 40 344
E-Mail: info@stattreisen-muenster.de
www.stattreisen-muenster.de
Guided sculpture tours by the LWL State Museum
The art mediation department and the scientific staff of the LWL
State Museum for Art and Cultural History invite you to discussions on art in the public spaces. Within the scope of a tour of the
city centre, we learn about how dynamically and complexly the
dialogue between art and the public is developing as exemplified
by sculpture projects from four decades.
Münster Marketing
Information and
accommodation booking service
Münster Information will gladly help you to quickly get your
bearings in Münster - right in the heart of the city centre.
Münster Information
Accomodation booking service
Dates: by arrangement Information and booking
Tel.: 0049(0)251 - 492 27 10
Fax: 0049(0)251 - 492 77 43
E-Mail: info@stadt-muenster.de
Tel.: 0049(0)251 - 492 27 26
Fax: 0049(0)251 - 492 77 59
E-Mail: tourismus@stadt-muenster.de
Information and booking
Office hours: Mon - Fri 9.30 a.m. - 6.00 p.m.; Sat 9.30 a.m. - 1.00 p.m.
LWL State Museum for Art
and Cultural History Münster
Information desk in the historical town hall
Domplatz 10
D-48143 Münster
Tel.: 0049(0)251 - 59 07 201
Fax: 0049(0)251 - 59 07 104
E-Mail: landesmuseum@lwl.org
www.lwl-landesmuseum-muenster.de
Prinzipalmarkt 10
Tel.: 0049(0)251 - 492 27 24
Office hours:
Tue - Fri 10.00 a.m. - 5.00 p.m.; Sat, Sun and bank holidays
10.00 a.m. - 4.00 p.m.
www.tourismus.muenster.de
Tour 1
The Old City
Length: 3 km walk, round trip
The tour takes you past the historical and
modern buildings of the old city. Besides the
Prinzipalmarkt and Salzstraße, the cathedral
square and the university campus along the
River Aa are stops on this approximately
two-hour walking tour.
1 Eduardo Chillida
Eduardo Chillida
1
2 Martha Rosler
Tolerance through Dialogue
3 Thomas Schütte
Platz-des-Westfälischen-Friedens,
Rathaus courtyard
4 Otto Freundlich
5 Tom Otterness
16
7
6 Lothar Baumgarten
7 Daniel Buren
8 Mark Formanek
17
15
11
14
9
6
5
8
10
1
13
9 Hans-Peter Feldmann
10 Hermann Pitz
12
4
2
11 Richard Tuttle
12 Mark Wallinger
13 Dennis Adams
14 Siah Armajani
15 Ulrich Rückriem
16 Giovanni Anselmo
17 Harald Klingelhöller
3
Tolerance through Dialogue is Eduardo
Chillida’s aesthetic homage to the
Westphalian Peace Treaty of 1648,
which was negotiated in the rooms of
Münster’s historic town hall. Chillida
created an area for the building’s
courtyard, where he placed two
L-shaped, massive steel sculptures,
which look somewhat like two
large benches facing each other.
The overall form of these enormous
steel pieces allows for a free-spirited
interplay of tangible and intangible,
of opposing weights, horizontal
and vertical planes, of open and
closed space. This in turn leads to a
harmonic whole. In an allusion to the
site’s historical events, apparently
irreconcilable opposites engage in a
mutually tolerant relationship, as if
involved in diplomatic talks. (G.K.)
1993
2
Martha Rosler
3
Thomas Schütte
Otto Freundlich
4
Unsettling the Fragments, Eagle
Cherry Column
Ascension
Corner Rothenburg/Königsstraße
Harsewinkelplatz
Maria-Euthymia-Platz
(near the Clemenskirche)
History hurts, a fact that cannot
be concealed even by monuments.
Both its central position in the square
and the vertical form of the column
Our endeavour to leave behind the
suffering frequently seeks to obliterate
or eliminate the vestiges of the past
in the townscape. In contrast, Martha
Rosler asks herself why history has
to be presented as unbroken. Her
Fragment Eagle, located in front of
the Münster Arkaden, shows an eagle
emblem in which the swastika held by
the eagle’s claws was gouged away
after the war. The original is situated
in front of the former airlift command
of the Wehrmacht (today the airlift
command of the Bundeswehr), which
had been installed under the supervi-
allude to the notion of the monument
as a traditional fixture of public art.
However, as it moves upward and
spreads out into a goblet shape,
the column becomes a pedestal,
embodying the lofty, the elevated.
But what is this elevated object?
Nothing unique, nothing “great”
– just something ordinary and
small, recalling nature, summer,
and children playing. The cherry
column subverts the aim of a monument, and because it does, it seems
plausible. (E.F.)
Freundlich created this sculpture in
1929 in Paris, but it was not until
long after his death in Maidanek
concentration camp in 1943 that it
was cast in bronze. With his paintings
and sculptures, Freundlich wanted
to overcome all “closed conditions”
and express a “community of forces.”
Many small, individual shapes are
collected at the bottom. Gradually,
the pile moves upward, condensing
at the top with an inward gesture,
ultimately forming a rounded assemblage. The irregular arrangement robs
the sculpture of a closed physicality.
Yet as the gaze moves, the viewer is
able to almost physically experience
the “climb” from one shape to the
next. (E.F.)
sion of Ernst Sagebiel in 1935. Eagle
is the only one of several fragments of
the works by the American conceptual
artist that had been conserved for the
sculpture exhibition 2007. (F.F.)
2007 : skulptur projekte münster 07
1987 : Skulptur.Projekte in Münster
1929
Tom Otterness
5
Superwoman
Alter Steinweg 11, between the
buildings of the Stadtbücherei
(City Library)
A female figure, over eight meters
high, whose structure resembles
scaffolding, forms a focal point between the two architectural sections
of the city library. As the personification of wisdom and freedom, the
sculpture incorporates traditional
iconographic approaches. Small,
completely sculptural men and women with tools resemble caricatures.
They move in and around the Superwoman, but it is impossible to tell if
they are building the large figure or
taking it down. The trials and tribulations involved in gaining knowledge
are played out with lively theatricalism in Otterness’ sculpture. (G.K.)
1993
6
Lothar Baumgarten
7
Daniel Buren
Mark Formanek
8
Three Will-o’-the-Wisps
4 Gates
Date
St. Lamberti church tower,
Lamberti-Kirchplatz
Domgasse, between Drubbel
and Domplatz
Domplatz/corner Michaelisplatz
The three iron cages hanging on the
tower of St. Lamberti church recall a
Since 1965, Buren has been working
with the same optical “tool”: rows
historical event (1536) where three
Anabaptist leaders were tortured to
death with burning tongs. As a deterrent, their bodies were placed in cages
and hung on the church tower for all
to see. Baumgarten placed a weak
light inside each of the three cages,
to memorialize the dead and their
martyrdom. So now, the three “will o’
the wisps” shine through the night, a
manifestation of three restless souls
or inner fires. (M.V.)
of 8.7-cm wide white and colored
stripes. He employs them in site-specific interventions to create relational
space and change the usual perception of a site. Four narrow, white and
colored striped gates were built for
the Skulptur.Projekte in 1987. They
are reminders of the barriers, which,
until 1803, separated the secular
city from the central area around the
cathedral. Today, only one of Buren’s
gates is still standing. Located in the
middle of the Domgasse, it alludes to
the organization of the urban space.
(M.V.)
A randomly selected date and time
are announced in plain, black lettering
stamped on a white metal sign. To
whom or what is Formanek referring,
with this little intervention in the
public space? Originally, there were
twelve signs. One by one, they will
replace each other in succession
– on the exact date, at the exact time
printed on the sign. There are now
nine signs left to exchange. People
spontaneously show up for personal
reasons (birthdays, anniversaries,
curiosity) and to mark the event, too.
Formanek’s work of art creates a
situation where the public and private
spheres, the anonymity of the public,
and private subjectivity are reflected
and simultaneously abolished. (G.K.)
1990
Hans-Peter Feldmann
9
Public Toilet Facilities
on the Domplatz
Domplatz
Hans Peter Feldmann, representative
of a democratic feeling for conceptual
art, is convinced that the way to the
toilet should be a cultivated one. For
this reason, he dealt with the public
convenience at the Domplatz for the
skulptur projekte münster 07. The
toilets - built in 1955, last renovated in 1987 - are heavily frequented
not only on the three market days.
The rooms have been reshaped and
furnished with modern bathroom
ceramics, coloured floor tiles, and two
large-sized paintings by order of the
artist and in close cooperation with
a municipal official. According to the
artist‘s clear ideas about what “public”
really means, using the toilets has
been free of charge since the skulptur
projekte münster 07. (F.F.)
Art and Music I
10
Hermann Pitz
11
Richard Tuttle
Mark Wallinger
12
Dennis Adams
13
Inside, Outside
Art and Music I + II
Zone
Bus Shelter IV
Old wing of the LWL-Landesmuseum,
first floor, interior and on the west
façade, next to the main entrance
Siegelkammer passageway,
between Domplatz 22 und 23
Traffic island, Aegidiistraße/
Rothenburg
Johannisstraße
Outside, the viewer can see the
blocks of mica slate that not only fill
the window frames on the outside
but also connect the interior and
exterior of this work. Pitz is making
references here to the slate behind
Josef Albers’ relief over the former
museum entrance and to the restoration of the old wing in1997, when the
windows were filled in. On the other
side of the closed windows, a wooden
mullion and transom, a gigantic
repro camera, and artificial lighting
Two twin white shapes, each resembling a comma or a bass clef supported by a horizontal element, are
placed in different positions, but on
the same level, on opposite sides of
a wall. They are never seen together,
but nevertheless seem to communicate with each other through the wall.
The sculpture’s form has to do with
both volumes and planes. It extends
to the ground, the wall, and to the
edge of a rectangular metal surface.
The viewer becomes aware of the
complete the installation. In a setting
where visuals are important (the
museum), it is the inverse of light
– darkness – that is given significance. The interior is closed until autumn
2012. (C.P.)
sculpture’s constantly changing
references – from shape to shape, to
architecture, and to the place where
the viewer stands. These are the
rules of the unpredictable. (E.F.)
Mark Wallinger stretched a cord of 5
kilometres for his installation, drawing a circle around the largest part
of the city centre. The central point
of this circle was the traffic island in
front of the Aegidiimarkt where the
project office and the golden information pavilion of the sculpture exhibition were situated. The cord which
stretched between houses, trees and
street lamps at a height of 4.50 to
15 metres, directed the beholder’s
view towards “higher things”. In this
manner, it created a zone, a transcendental borderline. The cord has been
removed long since, and the zone
exists but in people‘s minds. The
central point is all that remains: the
centre of the ZONE is identified by a
plate mounted on the traffic island in
front of the Aegidiimarkt - the central
point of the ZONE. (F.F.)
The sculpture by American artist
Dennis Adams absorbs people and
their relationships to the city and
history, and then “reflects” them
from different standpoints. The bus
shelter is open to the back; two lit
cases containing large photographs
reflect each other in diagonal walls
set in the middle; these are covered
with mirrors which are partially light
permeable. Both photos are taken
from a trial. One features a picture
of Jacques Verges, the lawyer who
defended Klaus Barbie, the war criminal who was active in France and
was accused of persecuting Jews.
The photo opposite is an enlarged
view of the on-lookers at the trial.
The observer is drawn into the “points
of view.” (E.F.)
14
Siah Armajani
15
Ulrich Rückriem
Study Garden
Garden of the Geologisches
Museum, Pferdegasse 3 (near the
stairs leading to the Jesuitengang)
Dolomite, Cut
The sculpture consists of a group of
benches, an axial stone path, and a
table placed on a diagonal. Most of
the seats face the inner area, but
some of them are turned away. The
table, too, seperates the interior and
exterior. American artist Armajani,
born in 1939 in Persia, designs and
builds functional objects (a “reading
house” or other buildings, bridges,
and furniture), which only become
sculptures when they are used. When
the sculpture is used for classes or
A vertical wall of nine stone wedges
borders the path next to the Petrikirche. Resembling a row of buttresses, it encloses the intermediate
space occupied by the path as far
the church. The blocks are cut at
their foundations and joints. The
wedge-shaped stones, which were
selected at the quarry, are arranged
in sequence according to height, from
the tallest to the shortest and viceversa. Their sequence has nothing
to do with their origins. The work
by individuals, it is finally actualized.
Both its real and imaginary connections with the university campus can
also complete the sculpture. (E.F.)
process can be read in the stones,
and this process, as well as the
arrangement, are part of a predetermined, connecting, and open spatial
form. Rückriems work for the sculpture
exhibition was initially of temporary nature but it was rebuilt in 1987
after long discussions. (E.F.)
Jesuitengang,
near the Petrikirche
1977 : Skulptur.Ausstellung in Münster
Giovanni Anselmo
16
Harald Klingelhöller
17
Shortened Sky
Meadow next to the Faculty of
Theology, Johannisstraße,
Aa promenade
The Meadow Laughs, or the Face
in the Wall
Courtyard of the Law School,
Universitätsstraße 14-16
How can it be possible to understand
the infinite distance between heaven
and earth? Perhaps by shortening
the incomprehensible altitude of
the sky by a measured amount. In
order to make this kind of elemental
experience possible, Anselmo set up
a four-corned, one-and-a-half-meterlong iron post on the meadow in front
of the University’s Faculty of Theology. Making an allusion to Walter De
Maria’s 1977 Vertical Earth Kilometer, which was drilled into the ground,
Anselmo’s work illustrates the unimaginable and, with help from the dialectic, awakens an understanding of
the world. Engraved on the upper side
of the iron post: “Verkürzter Himmel”.
“The sky should know that it is now
one meter shorter.”(Anselmo) (M.V.)
In Klingelhöller’s courtyard sculpture,
nature and culture unite to become
an optically disturbing construct.
Mirrored lamellae are set in front of
a plain, geometrically designed, small
ensemble of sixteen round and five
triangular-shaped yews. The lamellae
capture facets of the surrounding
area from different directions, resulting in a mosaic of both real and
mirrored perspective. It reflects the
countless windows in the surrounding
buildings, but is also a poetic provocation. Lacking a clear categorical
meaning, reason is pushed into a defensive position – much to the joy of
the laughing meadow, which triumphs
over human imperviousness. (C.P.)
24 Jorge Pardo
25 Ilya Kabakov
26 Susan Philipsz
Tour 2
Around the Aasee
28 Donald Judd
Length: 10 km by bike or
a daylong walk; round trip
29 Guillaume Bijl
The tour begins nearby the Aasee
and takes you through the Aaseeviertel. From there, you go to the
Hammer Straße, a city boulevard,
which leads up to Zaugg’s Horse
and Bull. The tour ends at the
Promenade, a “green belt” around
the old city used as a bicycle path.
We also recommend taking a tour
around the Promenade, where other
sculptures are located (see map).
30 Karl Ehlers
18 Kim Adams
31 Stephan Huber
19 Claes Oldenburg
32 Ernst Hermanns
20 Henry Moore
33 Kenneth Snelson
21 Heinz Mack
34 Rémy Zaugg
35 Huang Yong Ping
23 Martin Boyce
36 George Rickey
23
22
21
20
18
19
35
34
25
24
26
30
29
28
27
32 31
33
36
Kim Adams
18
Auto Office House
Aegidiistr. 45/corner Mühlenstraße (above the Café Gasolin)
Canadian artist Kim Adams installed
his surreal house/office on the flat
roof of a former 1950s gas station,
now the Café Gasolin.The essence
of the sculpture is a five-meter-high
steel grain silo. Car seats and hoods,
tires, etc. appear to revolve around
the outside of this core structure.
A transportable piece of “squatter
architecture” and visionary mobile
home, Auto Office House pays tribute
to mobility – not just to our desire
for progress (on wheels), but also to
that of today’s age of communications: coffee is today’s gasoline, so
to speak. (M.V.)
19
Claes Oldenburg
20
Henry Moore
Heinz Mack
21
Friedrich Gräsel
22
Giant Pool Balls
Large Vertebrae
Water Sculpture
Air Duct Sculpture (Werk 1-3)
Terraces on the Aasee (at the
beginning of Weseler Straße)
LBS, Landesbausparkasse,
Himmelreichallee 40 (Aasee-Side)
LBS, Landesbausparkasse,
LBS, Landesbausparkasse
By enlarging and transforming the
material of ordinary objects, Claes
Oldenburg became known worldwide
as a master of Pop Art. Referring
to the city’s war history (there is
a cannonball immuredin the city
wall about100 meters away) and the
citizenry’s love of hot air balloons,
Oldenburg transformed Münster into
a billiard table in 1977. Leftover from
this game are three gigantic concrete
pool balls on the terraces next to the
Aasee. Although they are immobile,
British artist Henry Moore regarded
sculpture as a kind of art best
seen in daylight, in open space. The
three parts of Vertebrae, a bronze
sculpture, are close to each other,
but not connected. Their harmonic
smoothness conveys the impression
that they have been shaped by nature
itself. Set in garden greenery, the
experience of modern art is coupled
with a positive experience of nature.
Thus, the sculpture communicates
directly with the viewer – without
with a circumference of 3.5 meters,
they nevertheless convey a sense of
movement. Suddenly, we experience
the world from the perspective of a
mouse. (M.V.)
detouring through religious or socially
stamped symbols. (B.G.)
A metal pipe, sixteen meters high,
is ornamented on opposite sides with
46 pairs of lamellae. At the bottom,
they oppose each other on a horizontal plane. Moving upward, the slant
of each lamella is increased by one
degree, so that the highest plates
are at 45-degree angles. They form a
transition zone between material and
space, which the eye follows in an
upward movement. Water can spout
from the top, and as it falls, it creates
a veil of spray and an opposing
downward movement. In 1958, Mack
and Otto Piene were cofounders of
the ZERO group in Düsseldorf; they
attempted to overcome material
limitations through space, light, and
movement. (E.F.)
Gräsel’s sculpture consists of closely
placed pipes, each ninety centimeters in
circumference. Each ends with a ninetydegree arched element forms a visible opening. The sculpture’s massive
volume is therefore thoroughly permeated by a sense of movement that
alludes to technological functions.
Gräsel, born in Bochum, Germany,
began with cylindrically shaped
objects in the1960s and later worked
with prefabricated shapes whose
austere optical function expresses an
optimistic relationship to technology.
Another of Gräsel’s ventilation sculptures is next to the Nord-West Lotto
building, on Von-Stauffenberg-Straße,
near sculpture no.28. (E.F.)
1974
1976
1972-1974
23
Martin Boyce
24
Jorge Pardo
Ilya Kabakov
25
Susan Philipsz
26
We are still and reflective
Pier
Looking up. Reading the words...
The Lost Reflection
Himmelreichallee, north of the
LBS building by the water ditch
Northwest bank of the Aasee
Aasee meadow, east of
Kardinal-von-Galen-Ring
Tormin bridge on the Aasee
That which does not become apparent does not exist for us, but yet, it
is there - it just has to be perceived,
claims Martin Boyce. The unimpressive square in the former zoo site
is covered with poured concrete
slabs. 13 shapes form a pattern
which has been adopted by the artist
from French sculptors Jan and Joel
Martel. The latter designed abstract
concrete trees in the 1920s, presenting a “perfect unity of architecture
and art” in Boyce’s opinion. Select
interspaces of the concrete slabs
were inlaid with brass strips made
by the Scottish sculptor to form
letters: We are still and reflective,
as says the lettering. Being aware of
the message set in the ground fills
the desolate place with emotion and
meaning. (F.F.)
The pier made of California redwood
by American artist Jorge Pardo runs
almost as a matter of course from the
northwest bank of the Aasee out into
the lake about forty meters, where it
becomes an asymmetrical, six-sided
platform. Through his materially
conscious, purist reaction to the
thoroughly landscaped lake, Pardo
connects austere, early modern
architecture with the traditional
building methods seen in Asian
gardens. The site reflects not only
the current desires of the public for
peace and quiet as well as for contact
with others, but it also posesses an
altogether urban attitude toward
nature. (K.W.)
As the title of this work by Russian
installation artist Kabakov indicates,
you should either sit or lie down
upon the grass at the foot of the
steel mast and look up at the sky.
And in actuality, a poetic message
made of filigree wire letters shimmers
between 22 steel antennae fifteen
meters high. The distance underscores the fragility of the writing:
“My dear! You lie in the grass,
looking up / Not a soul around / All
you hear is the wind / You look up
into the open sky, up into the blue
above, where the clouds roll by / It is
perhaps the most beautiful thing that
you have ever done or seen in your
life.” (M.V.)
Every Sunday from 10 a.m. to 6 p.m.,
at the top of the hour, an aria resounds
beneath the Tormin bridge on the Aasee - Susan Philipsz sings the Bacarole from Jacques Offenbach’s opera
Hoffmanns Erzählungen (Hoffmann’s
tales). The score is based on the story of the lost reflection written by
E. T. A. Hoffmann. It tells of courtesan
Guilietta’s charm that men succumb
to, who in turn give their reflections
away to her. Consequently, they are
not recognised any more even by
their wives and children. The story
line is set in Venice; when Susan
Philipsz sends her voice floating with
loudspeakers across the Aasee to the
opposite bank and back again, the
lagoon city and its canals feel close.
The human voice may not change the
space it pervades, but does change
spatial experience entirely. (F.F.)
27
Rosemarie Trockel
28
Donald Judd
Guillaume Bijl
29
Karl Ehlers
30
Less Sauvage than Others
Untitled
Archaeological Site
Interconnected
Aasee/next to Tormin bridge
Northwest bank of the Aasee,
west of Kardinal-von-Galen-Ring
Sentruper Höhe, between Mühlenhof and the Allwetterzoo
In front of the Allwetterzoo
Rosemarie Trockel has placed her
sculpture created from yew bushes
nearby the work of Donald Judd on
the Aasee banks with accurate vehemence. She carefully joins nature
to nature, thus setting two blocks of
the evergreen tree on the meadow.
Like green monoliths - 7 metres in
length, 3 metres in width, 4 metres
in height - accurately trimmed as if
being sculptures made of wood and
rock - that’s how the two blocks are
standing on the bank, slightly offset,
The shape is immediately understandable: two concentric, concrete
rings – the inside ring follows a
horizontal line, the outer ring runs
along the slant of the hillside. Works
that leave nothing to chance and
have no natural features are called
“Minimalist”. Each form is clear and
immediately becomes an idea. Here,
the landscape provides two preconditions: the horizontal plane and
the downgrade. The idea does not
become part of nature, but instead,
forming a tapering gap which the
waters of the Aasee are shimmering
through while a high-rise building can
be seen on the opposite bank. Less
Sauvage than Others - that‘s how
Rosemarie Trockel calls her installation. The accurate trim prevents any
wild growth. (F.F.)
the circles stand alone in opposition
– as a “topographical regulator in the
shape of two concrete circles” (Judd).
(E.F.)
An archaeological excavation site:
an exposed schist-covered tower
topped by a weathercock rises
from a pit and can be viewed from a
balustrade. Guillaume Bijl has created a new milestone of cultural tourism with his sculpture, a piece of
scenery culture. With the subtitle “A
Sorry Installation”, the Belgian artist
was charming enough to provide his
work with an exculpatory gesture.
Not so much in order to caricature
the expectations of the beholder,
but rather because he betrays his
otherwise realistic approach to work
with this absurd self-debunking
installation. (F.F.)
Ehlers has taken several rectangular
steel pieces and bent them into a
U-shape, interconnecting them so
that the resulting space resembles
an animal’s body. One of the many
possible associations is with a giraffe
– the description most often heard
since the monumental sculpture was
placed in front of the zoo. It’s possible to see either organically shaped
lines or a particular, individual
character. The sculpture shapes the
idea of “growth” as the separation
and collection of forces. (K.W.)
1972
31
Stephan Huber
32
Ernst Hermanns
Kenneth Snelson
33
Two Horses for Münster
4 Surface Area Pathways
Vine Street
LVM Insurance Building,
Kolde-Ring 21
Landesentwicklungsgesellschaft NRW,
Von-Stauffenberg-Str. 2/
corner of Kolde-Ring
Lotto Zentrale, Weseler Str. 108-112,
small glass courtyard left of the
entrance
The narrow, five-meter-high stainless
steel Surface Area Pathways stand
close to each other. Unresisting,
the gaze moves upward. At the
same time, the posts form a shape
that is somewhat like a cross. The
distances and open angles involve
the surrounding space. Form and
space reveal themselves when you
walk around the sculpture; sections
are always hidden. The Münster-born
sculptor (1914–2000) was interested
in the exciting relationship between
volumes and explicitly open, empty
space (see no.44). (E.F.)
Forces of pressure and tension shape
a filigree structure of pipes and wires.
The sculpture is open on all sides,
appearing to be a “structured space”
or an “arrangementof forces,” which
the imagination keeps visualizing as
an “event” created by the relationships between these forces. It is
interesting to compare this work with
Traum II, a 1959 bronze sculpture by
Bernhard Heiliger, which is located to
the right of the building’s entrance.
Snelson was born in 1927 and is only
The two horses modelled in neon by
the Munich artist Stephan Huber
seem like ghosts; a trotting horse
accompanies the four lanes of traffic
as they stream down the Ring, while
behind it, another horse bucks. First
modeled by hand, then subjected to a
tomographic process, and afterward
sectioned into horizontal pieces with
help from a computer, these Two
Horses for Münster are simultaneously traditional sculpture and a modern,
intangible work of art. Their moving
light design and motif turn them into
a multi-faceted symbol of the city
and the country. Primarily, however,
Huber has created surreal, thoughtful
images. (M.V.)
2002
1967
twelve years younger than Heiliger,
but his idea of a sculpture is radically different. The streaks of energy
no longer seem to be tied to a volume,
but develop instead as an open structure in space. (E.F.)
1966
Rémy Zaugg
34
Relocation of the sculptures
“Farm Laborer with horse” and
“Maid with Bull” on new pedestals
Ludgeriplatz
The two bronze sculptures date
from 1912; they symbolize “cattle
breeding” and “farming.” Zaugg’s
“sculpture” consisted of moving
them to a new location on the traffic
circle at the Ludgeriplatz. His theme
is also the objects’ relationship to
the viewer, the square, the city and
its history. Our perception of the
sculpture has altered. These two statues used to stand on either side of
Hammerstraße, greeting the people
who arrived from the countryside.
Today, the situation of the viewer,
the traffic, and the urban environment has radically changed. Since
Zaugg has created new spatial and
visual relationships to the old sculptures, passersby become aware of
history and their own situation. (E.F.)
Tour 3
Münster‘s East (Canal)
Length: 5 km, by bike, car,
or daylong walk
The tour of the eastern part of
Münster starts out in the midst of
the parkland of the old cemetery
of Hörster, leading beyond the Dortmund-Ems-Canal to rural areas
in the direction of Wolbeck. We
suggest a subsequent visit to the
Creative Quay in the port.
35
Huang Yong Ping
36
George Rickey
100 Arms of Guan-yin
Rotating Rectangles
37 Giuseppe Penone
Marienplatz traffic circle,
south of the St. Ludgeri church
Engelenschanze
Chinese artist Huang Yong Ping had
the idea for a six-meter-high “bottle
rack” – an allusion to Duchamp
– during a visit to the St. Ludgeri
church. The church houses a crucifix
damaged during the Second World
War; the figure of Jesus mounted on
the cross has lost its arms. “It was
entirely as if this Western, armless
Jesus gave me the idea to build a
thousand-armed Buddha.” But also of
sacred objects, which the thousandarmed Guan-yin traditionally holds,
Rickey’s aluminum sculpture is on a
public lawn on the Engelenschanze,
near the Promenade. An approximately three-meter-high pole connects three rectangular surfaces over
three horizontally rotating axes. Even
the slightest wind sets the wings
in lyrical, silent motion, as if friction
were of no consequence. Gravity,
too, seems to have been overcome.
Sunbeams on the mirrored surfaces
transform the sculpture into an
Impressionist play of light. The move-
the hands of the bottle rack present
next to secular utensils, from brooms
to hooks. The theme is a comprehensive transformation of both religious
and cultural meaning. (C.P.)
ment of the surfaces shapes mass
and time. Rickey introduced real
motion into modern sculpture and
was one of the founders of Kinetic
art – a kind of art that harmonizes
inert material with the living dynamics of nature. (G.K.)
39 Olaf Metzel
1975
37
38
39
Modern Art
in Münster
LWL-Landesmuseum für Kunst
und Kulturgeschichte Münster
Domplatz 10, D-48143 Münster
Tel.: 0049(0)251 - 59 07 01
www.landesmuseum-muenster.de
reopens on 23.08.2009:
Tue, Wed, Fri 10.00 a.m. - 6.00 p.m.
Thu 10.00 a.m. - 9.00 p.m.
Sat + Sun 10.00 a.m. - 6.00 p.m.
Ausstellungshalle
zeitgenössische Kunst Münster
37
Giuseppe Penone
Progetto Pozzo di Münster
(Fountain Projekt for Münster)
38
Bernhard Luginbühl
Olaf Metzel
39
Sam
Reflecting Wall
Park, corner of Karlstr./Wemhoffstr.
Stadtbad Ost, Mauritz-Lindenweg/Manfred-von-Richthofen-Str.
Landesfeuerwehrschule, Wolbecker Straße 237
It might be a broken branch coincidentally hanging over a sand-stonelined hole in the ground in the middle
of the old Hörster cemetery– were it
not for the stream of water pouring
out of it. The branch is cast in bronze,
and as a fountain, it is subject to various processes of time and different
circulatory systems. Italian artist
Penone has further developed a 1968
work: a steel cast of his hand, placed
around a young tree so that it could
no longer grow at that spot. “The
Luginbühl welds old pieces of iron
such as rails, wheels, chains, twisttops, bits of machinery, and other
things into gigantic, bizarre sculptures. Removed from their industrial
context and painted a unified rust colour, they develop their own sculptural
language of form that advances them
beyond their previous function. This
leads to fascinating hybrid creatures,
mixtures of prehistory and robotics
such as Sam, an object that appears
to be a mysterious mediator between
hand sinks into the tree trunk, whose
growth makes it a flowing, sculptural
element” (Penone). (C.P.)
the two worlds. (K.W.)
Five meters high and nine meters
wide, Metzel’s shimmering, reflecting
wall is like an enormous poster or
movie screen. Located on the city periphery, next to a main traffic artery,
the sculpture’s surface, covered with
orange prismatic reflectors, catches
light both day and night. The work
affords commuters diverse plays of
light and awakens mental associations with emergencies, fire, force,
and insecurity, but also with the big
city, games, and spectacles. An ordinary object – the prismatic reflector
– allows the fire fighters’ school and
the passing traffic to be present in
the picture. (M.V.)
(since 1996 ongoing exhibition)
1967
1999
Hafenweg 28, D-48155 Münster
Tel.: 0049(0)251 - 492 41 91
(during opening hours:
Tel.: 0049(0)251 - 674 46 75)
www.muenster.de/stadt/
ausstellungshalle/
open: Tue - Fri 2.00 p.m. - 7.00 p.m.
Sat + Sun 12.00 p.m. - 6.00 p.m.
Graphikmuseum Pablo Picasso
Königsstraße 5, D-48143 Münster
Tel.: 0049(0)251 - 41 44 7-10
www.graphikmuseum.de
open: Tue - Sun 10.00 a.m. - 6.00 p.m.
Westfälischer Kunstverein
Various places of issue
Tel.: 0049(0)251 - 461 57
www.westfaelischer-kunstverein.de
wkv@muenster.de
Wewerka Pavillon
Aaseewiesen (Kardinal-von-GalenRing/Torminbrücke), Münster
Tel.: 0049(0)251 - 83-6 11 37
www.wewerka-pavillon.de
open to the public:
Mon - Sun 0.00 a.m. - 0.00 p.m.
Förderverein Aktuelle Kunst
Fresnostraße 8, D-48159 Münster
Tel.: 0049(0)251 - 66 53 25
www.foerdervereinaktuellekunst.de
open: Wed - Sun 4.00 p.m. - 7.00 p.m.
Thu untill 8.00 p.m.
Tour 4
Through the Parks and
Countryside of North
Münster
Length: 14 km by bike or car,
one way
40 Norbert Kricke
41 Susana Solano
42 Rebecca Horn
43 Francesco Marino
di Teana
44 Ernst Hermanns
45 Maria Nordman
46 James Reineking
47 Kirsten Kaiser
The tour starts at the Stadttheater (city theater), leads along the
Promenade and the Buddenturm,
then through Wienburg Park to
Kinderhaus. From here, follow
idyllic Gasselstiege along the city
periphery; the tour ends close to
the city center. If you drive, we
recommend taking Kanalstraße to
Wienburg Park, where you can park
in the lot (see map). For the return
trip, take Grevener Straße instead
of the Gasselstiege.
Norbert Kricke
Space-Time Sculpture
Façade of the Stadttheater,
Voßgasse
Kricke has formed two thin, iron
pipes into a casual loop as light as a
free-floating sketch in space. It fits
into the broad corner of the façade
of the city theater. This open gesture
binds together the contexts of space
and time. Out of the interior of the
loop (which is merely indicated by a
line) an emotional, dynamic opening
develops in the unlimited space.
Space reveals itself as both intermediate and free, offering a chance for
the gaze to move from one side to the
other and to perceive the power of
the spatial tension. (K.W.)
46
47
40
45
44
43
47
42
41
40
1955/1956
41
Susana Solano
42
Rebecca Horn
The Contrary Concert
Francesco Marino
di Teana
43
Ernst Hermanns
44
Infinite Stretch of Path
Multi-shaped Large Sculpture
Open June-September, Sundays 2-6 p.m.,
or by guided tour for groups only.
Telephone: 0049(0)251/492-4503 City Museum
Pascal-Gymnasium, Uppenkampstiege 17
Wienburg-Park, north of Langemarckstraße
The heavy iron sculpture by Spanish
sculptor Susana Solano consists of
two parallel plates connected by massive horizontal beams. Its theme is
the power of medieval architecture.
The Buddenturm is a remnant of the
old city defenses, built in the twelfth
century. It is practically the only
example of this type of architecture
in Münster and certainly the most
prominent. On both the west and
east sides of the tower, remains of
the city wall can still be seen. Solano
The Zwinger, on a site where the city
wall once stood, was originally built
as part of the city defenses. Among
other things, it served as a gunpowder
storehouse, prison, home, and at the
end of World War II, as a place where
the Gestapo executed forced laborers. Horn’s careful intervention – the
rhythmic sound of forty-two small
hammers, the flickering of candlelike
light, the regular sound of water
dripping – creates an atmospheric
setting. A wild garden grows inside
In his Constructivist sculpture, Marino di Teana condenses the notion
of space as an unlimited, physical
system of forces into a material
segment. Two horizontal masses
meet along a horizontal plane, while
in between, pieces resembling posts
extend outward at different heights.
In an interaction between parallelism
and opposition, void and volume, the
spatial coordinates reveal themselves as a dynamic system of paths
open in all directions. (K.W.)
translates this wall into the austere
aesthetic language of the modern era,
as if it were a citation. Her sculptural
translation of the defenses negates
any sort of contemporary tendency
to romanticize the Middle Ages. (G.K.)
the ruined Zwinger which has been
restored. Horn’s work of art places
solemn memories of the past as well
as the healing powers of nature in a
continuum. This monument can be
experienced as a memorial with many
layers of meaning, where the past,
present, and future are reciprocally
reflected. (G.K.)
1973/1974
Four pillars between two and three
meters high are grouped so that
their distance, height, and place in
the group simultaneously connect
and disconnect each shape. The
slight irregularities and rounded
edges make the pillars look like
bodies. At the same time, the open
space in between each piece becomes an equal part of the sculpture.
The surrounding space can be understood as a kind of magnetic relationship of attraction and isolation. What
Hermanns calls the “spatial tension”
changes according to the standpoint
of the viewer (see sculpture no. 33
which is of a later date). (E.F.)
Muralla transitable
(Changeable Fuse)
Buddenturm, Münzstraße/corner
of “Am Kreuztor”
(partially realized)
Zwinger/Neubrückenpromenade
1987/1997 : Skulptur.Projekte in Münster
1960
Site 2
Impressions
skulptur projekte münster 07
45
Maria Nordman
46
James Reineking
De Civitate
Synclasticon
Wienburg-Park, Wienburgstraße
across from Havixburgweg
Münster-Kinderhaus, corner of
Westhoffstraße/Langebusch
The sculpture spreads out across a
long piece of land running beside
a footpath. It consists of trees,
grasses, flowers, air, water, and the
incidental light. A twin row of gingko
trees, a species already 270 million
years old, forms a U-shape that opens
to the north. Facing south is a second
row of sequoia trees, whose needles
are renewed annually, and a third
section of evergreens forms, open
walls and chambers. The sculpture
is not separate from, but is instead
permeated by the nature, time, and
people encountering it. (E.F.)
Two cut and bent pieces of Corten
steel stand next to each other, but
are distinctly separate. However,
the gaze is constantly forced to
overcome this separation. The eye
follows the upward movement of a
round segment, which is crossed by
a second matching, round segment
that seems to be cut out. Its “remaining surfaces” form a third, arched
segment that extends horizontally
above the ground. If the steel plates
were to be straightened, they could
be placed together to form a square
surface. The sculpture consists of the
different movements created when
one looks at the pieces. (E.F.)
1991
Kirsten Kaiser
Quotation Marks
47
Site 1: Gasselstiege 1, corner of Steinfurter Str./Gasselstiege, Site 2: Entrance to
Hof Schulze Gassel, corner of Brüninghagen, behind the Wikinghege golf course
Kaiser puts one of the oldest streets
in the city, the Gasselstiege, inside
quotation marks, so to speak. The Münster artist placed actual quotation
marks at the beginning and end of
what is today a rather small path,
accessible only to pedestrians and
cyclists in some spots. In German,
“Gänsefüßchen” means “little goose
feet,” but it is also a colorful colloquialism for “quotation marks.” Kaiser not
only marks the historically significant
path, but also visualizes its probable
etymology: the name of the farm,
Hof Schulze Gassel, which gave its
name to this street, is derived from
the word “Gössel” (gosling). Kaiser’s
work of art turns the course of the
path into a citation of history. (G.K.)
1998
48 Per Kirkeby
49 Per Kirkeby
50 Richard Artschwager
52 Jenny Holzer
53 Herman de Vries
54 George Brecht
56 Manfred Müller
57 Matt Mullican
58 Bruce Nauman
59 Ludger Gerdes
61 Richard Serra
Tour 5
Uni-Viertel and Gievenbeck
Length: 10 km by bike, car,
or daylong walk
The tour goes past the castle,
through the botanical gardens
and the University Quarter, then
out to Gievenbeck and the Rüschhaus (where nineteenth-century
poet Annette von Droste-Hülshoff
once lived). The artistic discoveries are accompanied by lots of
greenery and a bit of university
atmosphere.
Per Kirkeby
Bus Stop
Freiherr-vom-Stein-Haus,
Hindenburgplatz 34
61
60
48
59
56
57
58
54
55
53
49
48
51
52
51
50
51
At the level of the Freiherr-vom-SteinHaus on the busy Hindenburgplatz,
Per Kirkeby ordered a public bus stop
to be built that assumes the shape
of urban functional architecture as
regards material and basic form
- so as to articulate in return the
proportions and dimensions in an
artistically independent manner.
This place is identified as being
transient by the way the waiting
area is arranged by means of metal
columns, the window aperture to the
former schoolyard, and the façadelike rhythmisation of the enframing
wall zones by leaps forth and back: a
place to stay between university and
the streets. (K.W.)
49
Per Kirkeby
Brick Sculptures
50
Richard Artschwager
Untitled (Monument B)
Hindenburgplatz, across from
the Institut für Zoophysiologie
Torhaus (ASTA) on the left, next
to the main pathway to the castle
Kirkeby’s two brick sculptures, which
examine historical building methods,
are references to the traditional
brick buildings found everywhere in
Münster. Two cubes – one low to the
ground, the other tall – are austerely
ornamented by arched segments and
blind openings. In their dialogue, the
two appear to be models for architectural structures that could either
be growing or sinking. The cubes are
meaningful intersections between the
Baroque castle on one side and the
Fascinated by the bicycle’s presence
everywhere in Münster, American
artist Artschwager, known since the
1960s for his ironic furniture objects,
has created a monument to the
bicycle. He lined up prefab concrete
bicycle stands; an exaggeratedly tall
one stands in the middle. This bicycle
stand elevates itself, so to speak,
onto a pedestal, thus humorously
transforming the ordinary item into a
public emblem. In turn, the pedestal
becomes the support for two small
plain, post-war apartment buildings
across the street on the Hindenburgplatz. They make it easier to see how
little maneuvering room there was
between destruction and reconstruction. (K.W.)
trees planted where bicycles would
normally be. The change in function
turns Artschwager’s monument
into an ironic, Pop art commentary:
ultimately, the monument supports
the trees. (M.V.)
François Morellet
51
A la française (encore once more):
Circle, Rectangle, and Triangle
Jenny Holzer
52
Benches
Schlossgarten, 3 sites: left and right
of the Botanischer Garten, east of the
castle, and the meadow left of the castle
South Schlossgarten, Lindenallee,
to left of the castle when facing
away from Hindenburgplatz
With help from bricks set in the
ground, French artist Morellet has
given each of the three meadows
around the castle a new outline:
a circle, a rectangle, and a triangle.
A geometrical system of order
discreetly yet publicly attacks the
seemingly natural shape of the park,
which is laid out in the style of an
English garden. Morellet refers to the
unrealized plan for the castle garden,
originally meant to be like a late
eighteenth-century Baroque garden
“à la française.” However, the work
focuses on the “battle between two
forms, two opposing concepts that
move beyond nature and history, and
whose real character first becomes
clear when seen in opposition” (Morellet). (M.V.)
Close to the war memorial are two
benches with English words inscribed
on the seats. Both the situation in
the park and the resemblance to
the Baroque garden benches at Haus
Rüschhaus provide the texts with an
even more shocking effect. Allusions
to brutal deeds, shootings of prisoners, and the pursuit of fleeing women and children are described in the
present tense without any historical
context; feelings of rage, fear, sorrow,
and empty patriotism are addressed.
American artist Jenny Holzer presents
texts that are mostly sharp and penetrating – here, accompanied by the
timeless peace of the grave. (E.F.)
Artificial stone casts of two of the
original five benches
53
Herman de Vries
54
George Brecht
Ian Hamilton Finlay
55
Manfred Müller
56
Sanctuarium
Three VOID-Stones
A Remembrance of Annette
Ringredseventeendegrees
North Schlossgarten,
meadow near Einsteinstraße
Meadow near Einsteinstraße
Alter Überwasser-Friedhof,
Wilhelmstraße
Institute for Lebensmittelchemie
University of Münster, Corrensstr. 45
In Latin, Sanctuarium means holy, untouchable space. This definition is the
foundation for Dutch artist Herman
de Vries’ “round temple” dedicated to
nature. Containing 20,000 bricks, the
structure was built according to traditional eighteenth-century masonry
technique. Through four “eyes,” which
face all four directions, viewers can
observe natural life and death in the
central zone, which is untouched by
human hands. As if it were an archaic
oracle, a 2,700-year-old Sanskrit
George Brecht originally engraved
the word VOID in capital letters on
three stones. You can encounter one
of these on a meadow on the edge
of the Schlossgarten, practically as
a matter of course. VOID means
emptiness, nothingness, liberation.
What does the artist mean with this
VOID? Is the stone hollow? Is the
surrounding area of no importance?
Or is Brecht trying to influence the
viewer’s condition by placing him in
an almost thought-free, meditative
saying is engraved in golden letters
on the temple frieze: “om. this is perfect. that is perfect. perfection comes
from perfection. take perfection from
perfection, it remains perfect.” (M.V.)
state? Paradoxically, Brecht’s “VOID
Stone” inspires countless associative
thoughts about the site where the
stone is displayed and about those
who visit it. (G.K.)
On the trunk of an old poplar tree,
high above the Überwasser Friedhof
(cemetery), where the Droste family
is buried (and which is now part of
a park), Scottish artist Ian Hamilton
Finlay has erected an epitaph in
memory of Westphalian poet Annette
von Droste-Hülshoff. The words
chiseled in the sandstone quote
Annette: “My songs will live on long
after I am gone.” By displaying the
memorial tablet in an unusual spot,
Finlay removes this thought from the
intimate dialogue begun by the poet
and, at the same time, makes it visible from a great distance. In Finlay’s
installation, memory seems to be a
subtle complex of references. (K.W.)
Düsseldorf artist Müller’s steel ring,
painted red and visible from afar,
seems like a pure echo of the round
shape of the University building
toward which it leans at a slight
17-degree angle. From up close, the
ring is reflected in the building’s glass
façade. This proximity between ring
and building creates a dynamic tension, a dialogue between shapes, which
includes the intermediate space. An
elementary form, the circle is a metaphorical reference to natural cycles
and periods of time. Thus Müller’s
steel ring also develops a contextual
relationship to the natural sciences
institute. (M.V.)
1997
57
Matt Mullican
58
Bruce Nauman
Ludger Gerdes
59
Heinz-Günter Prager
60
Sculpture for the Chemical Institutes
Square Depression
Ship for Münster
Cornerpiece 5/95
Scientific Centre, Wilhelm-KlemmStr., in the courtyard, passageway
between no. 10 and no. 8
Scientific Centre,
Wilhelm-Klemm-Straße
Horstmarer Landweg, on the
meadow across from no. 120
Zollfahndungsamt,
Gescherweg 90
Bruce Nauman had planned his
Square Depression as early as for
the first sculpture exhibition 1977 in
Münster. An inverted pyramid made
of white concrete, a walkable work on
the campus of the scientific centre
of the university. Square Depression
is literally a quadrangular sink, but
in the title, Nauman also plays on
the literal sense of „depression”.
Depressive, helpless, abandoned
- that’s how those might feel that
stand in the centre of the sculpture.
It’s about space and the vanishing
point as formal qualities. At the same
time, Square Depression represents
the spatial construction of a mental
state below a vanishing point. As a
sculpture, Nauman’s work sheds light
on how much perspective is compulsory, and to what extent it may be
forceful. (F.F.)
An almost romantic, even fantastic
view! The visitor discovers Gerdes’
sculpture, a 43-meter-long island
enclosed by sandstone walls, in the
middle of what used to be an empty
meadow. A small pond surrounds the
island, which holds a small wooden
pavilion and two poplar trees. The
island is like a ship “sailing” toward
the inner city, but it also recalls a
temple district. Gerdes’ work of art
releases a number of associations
that transform our daydreams and
desires – especially in the face of
increasing urbanization – into a solid
setting. (G.K.)
The sculpture offers several easily
understood units: surface, block, the
right-angled incision, the shift, and
the mirror image. Simple, comprehensible, and discernible elements
are at work here, so that we not only
see them, but also understand them.
The actual character of this sculpture
consists of time-related processes:
gradual, volatile, yet simultaneously
restrained developments in the relationship between the obvious forms,
and the same kind of developments
in the relation of these forms to the
building. (E.F.)
In our increasingly visual world, the
typology of the sign is part of elementary knowledge. American artist Mullican installed a flat ground sculpture
on the meadow of the University’s
Chemistry Institute. Resembling a
chessboard, the granite tablets combine hieroglyphs, diagrams, and symbolic tables, all of which refer to the
various typologies and classification
methods of the neighboring sciences.
An accessible room is created, upon
which a spatial, transcultural, abstract order of the world is drawn.
An empty plate lies in the middle, a
symbol for the energy and openness
of this point of view. (M.V.)
1995
Westfälischer
Kunstverein
Publisher:
Münster Marketing
In cooperation with the LWL
State Museum for Art and
Cultural History Münster
Tel.: 0049(0)251 - 492 27 10
Fax: 0049(0)251 - 492 77 43
www.tourismus.muenster.de
61
Richard Serra
Dialogue with Johann Conrad Schlaun
Rüschhausweg/on the Rüschhaus
A forged, massive steel cuboid,
measuring 2 x 1.5 x 1.5 meters and
weighing about forty tons, is sunk
into the ground on one side at a seven-degree angle.The incline makes
us aware of the massive volume
of the block; at the same time, it
creates a gentle movement. Serra
writes, “It inclines toward the main
building of the Rüschhaus.” Turning
away from the street running past it,
the block faces the axis of the avenue
of trees connecting the house and
street. The sculpture’s proportions
derive from the Baroque entry gate.
The considerable distance between
sculpture and the house shows conscious respect for the light, curved
architecture. A “dialogue” arises from
the powerful sculptural act. (E.F.)
2009–2012
Gegenwartskunst an
wechselnden Orten
Contemporary art in
various locations
Authors:
Frank Frangenberg (F.F.), Erich Franz
(E.F.), Birgit Gropp (B.G.), Gail Kirkpatrick (G.K.). Claudia Posca (C.P.),
Maité Vissault (M.V.), Karin Wendt
(K.W.), Edith Hettwer
Design and Layout:
Sabine Stermann, Münster
Printer: Lonnemann GmbH, Selm
Photo credits:
Sabine Ahlbrand-Dornseif (10),
Angelika Klauser/Presseamt Münster
(Titelfoto; 9; 58), Barbara Kraus (6),
Münster Marketing (2; 8; 12; 13; 22;
30; 34; 35; 40; 47), Roman Mensing/
artdoc.de (1; 4; 5; 11; 16; 19; 21; 23;
24; 25; 27; 28; 33; 37; 38; 39; 42;
43; 45; 48; 53; 55; 56; 59; 60; 61),
Tomasz Samek (7; 17; 32; 41; 46; 49;
50; 57), Karolin Seinsche (26), Rudolf
Wakonigg (14; 44; 51; 52), Dietmar
Wirlitsch (3; 15; 20; 29; 31; 36; 54),
weitere Fotos: Stephanie Alker,
Joachim Busch/Presseamt Münster,
Claas König, Karolin Seinsche
Updated: March 2009
ANZEIGE
Westfälischer Kunstverein
(Büro/Office)
Friesenring 40
48147 Münster
Fon +49 251 46157
Fax +49 251 45479
info@westfaelischer-kunstverein.de
www.westfaelischer-kunstverein.de
(2012 zurück am/back in)
Domplatz 10
48143 Münster
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>gk^c\EZcc!ÃE^XVhhd^cÃAV8Va^[dgc^ZÂÂ!8VccZh&.*,!;did\gVÄZ
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The five tours at a glance
Tour 1
1 Eduardo Chillida
2 Martha Rosler
Tour 2
3 Thomas Schütte
18 Kim Adams
4 Otto Freundlich
19 Claes Oldenburg
5 Tom Otterness
20 Henry Moore
40 Norbert Kricke
6 Lothar Baumgarten
21 Heinz Mack
41 Susana Solano
7 Daniel Buren
42 Rebecca Horn
8 Mark Formanek
23 Martin Boyce
43 Francesco Marino
9 Hans-Peter
24 Jorge Pardo
44 Ernst Hermanns
10 Hermann Pitz
25 Ilya Kabakov
45 Maria Nordman
11 Richard Tuttle
26 Susan Philipsz
46 James Reineking
12 Mark Wallinger
47 Kirsten Kaiser
13 Dennis Adams
28 Donald Judd
14 Siah Armajani
29 Guillaume Bijl
15 Ulrich Rückriem
30 Karl Ehlers
48 Per Kirkeby
16 Giovanni Anselmo
31 Stephan Huber
49 Per Kirkeby
17 Harald
32 Ernst Hermanns
50 Richard
33 Kenneth Snelson
34 Rémy Zaugg
52 Jenny Holzer
35 Huang Yong Ping
53 Herman de Vries
36 George Rickey
54 George Brecht
Feldmann
Klingelhöller
Tour 4
di Teana
Tour 5
Artschwager
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56 Manfred Müller
37 Giuseppe Penone
57 Matt Mullican
58 Bruce Nauman
39 Olaf Metzel
59 Ludger Gerdes
61 Richard Serra
(3"1)*,.64&6.
1"#-01*$"440.f/45&3
The Pablo Picasso Graphic Museum Münster ^h
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Xdjgih# Lî] dkZg -%% aî]d\gVe]h! îh ^ckZcidgn Xdbeg^hZh
Vabdhii]ZZci^gZaî]d\gVe]^Xldg`hd[E^XVhhd#I]^hjc^fjZ
XdaaZXi^dc^hXdbeaZbZciZYlî]i]ZdcZ]jcYgZYZiX]^c\h
d[i]ZHjîZKdaaVgYVcYVcZmiZch^kZhZaZXi^dcd[ldg`hWn
E^XVhhd¼h[VbdjhVgi^hi[g^ZcYhhjX]Vh<Zdg\Zh7gVfjZ!?dVc
B^g!=Zcg^BVi^hhZ!BVgX8]V\Vaa!VcY;ZgcVcYA\Zg#I]Z
Zm]^Wî^dch VaiZgcViZ hZkZgVa i^bZh VccjVaan VcY ]^\]a^\]i
i]ZkVg^djh[VXZihd[E^XVhhd¼hdZjkgZ#
;jgi]ZgbdgZ!]^higVâWaVoZghVcYXdciZbedgVg^ZhVgZgZXd\"
c^hZYWVhZYdcheZX^VaZm]^Wî^dch#
(3"1)*,.64&6.1"#-01*$"440.f/45&3
@c^\hhigVhhZ * Ç )-&)( BchiZg Ç %'*&$)&)),"&%
lll#\gVe]^`bjhZjb"e^XVhhd"bjZchiZg#YZ
46
47
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58
57
Betreten
l le
e
t
s
u
a
B
r
e
d
ve r b o te n
A NEW HOME FOR THE ARTS.
Please note:
Because of the large amount of
information, the small map here can
only serve as a rough guide. Before
starting your tour, we recommend
acquiring a city map (for example,
the Fahrrad-stadtplan Münster, a
map of Münster bicycle routes) so
that you can conveniently plan your
trip and consultit while on the road.
30
29
28
27
From April 2009 until autumn 2012 the LWL-Landesmuseum für
Kunst und Kulturgeschichte will be partly rebuilt based on the
designs of the Berlin architect Volker Staab.
During the construction period, which will last for about three years,
the museum will only be closed temporarily.
From August 2009 the masterpieces of the collection are presented.
The motto is “Nur das Beste” (“Just the Best”). From autumn 2009
varying special exhibitions can be visited. Due to the furnishing of the
new building the museum will close completely from November
2011 until autumn 2012.
LWL-Landesmuseum für Kunst und
Kulturgeschichte, Münster
Domplatz 10, 48143 Münster
Telefon +49 (0)251 5907-01
landesmuseum@lwl.org
www.lwl-landesmuseum-muenster.de
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sculptures

Transcription

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